ep1str0phy

The Improvisation book is, indeed, a thoughtful philosophical/historical primer on improvisational approaches. Certain folks have criticized it for being a little facile--and there's very minimal theoretical underpinning contained therein--and it is, to be fair, somewhat generalized in its approach to certain topics. What's remarkable to me, though, is that Bailey--as a sort of doyen of non-idiomatic improvisation (and a progenitor, although hardly the most strident practitioner, of the sort of anti-culturalist approach that cats like Lewis criticize)--remains generally nonbiased and apolitical throughout the main text. Bailey's (conspicuously) dispassionate documentary/heuristic approach is probably the book's biggest draw for me (as both a primary source and as an instructive text), but that same attribute is also why it's difficult to shoehorn the tome into the sort of divisive identity debate that crops up in modern improv talk... On Bailey--now and always among the illest of the illest of the old school free improvisers, and (agreed) a fascinating mind.

Bolstered, of course, by the presence of Billy Harper, who by that time was coming into his own as not only a tremendous saxophonist but also a fine composer. The particular treatments of Harmer compositions on that album, IMO, surpass alternate versions on the saxophonist's solo albums--just goes to show what a sympathetic and adventurous band can accomplish (and there were certainly a few of those over the course of LM's recorded career, although just as many--and more--on the opposite end of things...).

I'm a pretty trim guy, but the shirts fit well. These aren't those bigass novelty store jazz shirts, to be sure--they fit like your average "hipster" band T-shirt (which isn't necessarily a bad thing, 'cause I've held for years that jazz shirts are almost uniformly unflattering). -Another issue: anyone have any opinions on certain improvisation philosophy texts? I'm a reader/guest lecturer for a improv history course this semester, and I think I'll be getting the "kids" to be reading George Lewis (Gittin' to Know Y'all) and Cardew (Towards and Ethic of Improvisation)... I've been looking for something to bridge the gap between the AACM and the early Europeans--particularly the gulf between perspectives on shared/cultural identity--but few papers address the topic directly (Lewis's certainly does, Cardew implicitly).

I've only been really disappointed by Shouting the Blues, although recent technological/Internet innovations have prevented me from paying excessive amounts to know so.

Yeah, interestingly I don't have the Evolution shirt, although my girlfriend has developed the (loveable) habit of getting me new BN ropeadope apparel every holiday/birthday (word: the New York Is Now shirt is great...).

As much as I respect Scofield, that's still funny to me... Another issue (and tied to the whole "ME just records people he likes" thing) is that the patented "ECM sound" is by no means restricted to ECM albums, although artists who have appeared on the roster tend to carry that sensibility with them. One example is Kenny Wheeler, who--despite some extraordinary associations (the BoB/BN family, Braxton, the UK and Euro free improv crowds) and occasional tendency toward experimentalism (including certain ECM albums)--veers toward "cool, light, and airy" unnervingly often--and this, off the ECM label. ECM production values do not a "boring, pretentious" album make (as, for example, Tribute to Lester shows)--they can only affect sounds--i.e., we find ourselves (often) faulting the label for what may arguably be shouldered on the artist.

All things considered, that's not a bad price.

(This was a pretty hard one to figure out, MG) Sekou Toure Patrice Lumumba Steve Biko

EX-CES-SIVE. (Although I'd love to have the cash to burn for that Frank Wright...)

Granted--but the other reviews on his website suggest that he's not entirely a weekend warrior about modern jazz/improv... I'll trust my ears, though (when I get a copy). Oh, and as per BFrank's blurb--I'd say that the Strata-East big band stuff is the essential material here...

I love that Quebec album.

Of course there's still a lot of sentimentality/protectiveness about a (to be fair) substantial musical legacy (BN) and the cultural/iconographic legacy that it has birthed. What one might find bothersome (and this is to take nothing away from the aesthetics, intents, purposes, or--finally--quality of the younger groups) is precisely how persistent certain forces are about simultaneously mining a rich historical musical legacy and siphoning the energies off that legacy and onto projects almost wholly removed from the former "label spirit". That "finest in jazz" thing is still on the logo (implicitly or directly), after all... Pragmatically: (1) as we have explored in other threads, we've fetishized this label to death (mutating into a sort of blind vitriol toward lord knows who--and yes, we're probably marring those more accomplished works and artists with our endless, whiny tirades), (2) Blue Note has not been Blue Note for decades, (3) more money/mainstream prestige for BN may be good news for those reissues we throb over, (4) I'm aware that few of us are actually complaining this time, and I join you in my resignation.

And hell, there's always Afternoon of a Georgia Faun, which is probably one of the best albums of its era/kind. Re: Scofield... he's not the kind of player I'd like to listen to all the time, but I've always been impressed by playing. He's got fine phrasing and a phenomenal groove, and even if he isn't the sort of dyed-in-the-wool experimentalist that this music often demands, he's still one of the more articulate voices in the modern mainstream. IMO, anyway.

He's excellent on that Braxton does Hill album on CIMP. He's a terrifically fluid player with just the right thing of angular mania (ala Braxton himself).

Multiple choice: Who, Charles Tolliver? Yuck. You ever tried getting corpse vomit out of carpet? You must not remember the 70s... All of the above. To be fair, "Fcking Boyfriend" is a step or two removed from Reuben Wilson.

What I want to know is when the official website will begin selling merchandise. If we can't get long OOP albums (Echoes of a Prayer? Please?), then we should at least have shirts--I mean, who wouldn't wear a tasteful Grachan shirt?

Ahmed Abdullah: Life's Force -Anyone else have this one? Sounds like it could have been recorded yesterday (remarkably prescient--anticipates a lot of the sparse-melodic sound of the CIMP roster). Abdullah is in excellent form (never really appreciated him like I do here).

Jeff would like to have a word with you... Seriously though--my first guitar teacher used to run into Jeff Beck from time to time. Supposedly, he's unremittingly self-involved and egotistical. Surprised?

Greatest Hits 2 has some great stuff as well. That's where you'll find "Levon," "Tiny Dancer," Elton's versions of "Lucy in the Sky with Diamonds" and "Pinball Wizard," "Island Girl," "I Feel Like A Bullet From The Gun Of Robert Ford," and "Philadelphia Freedom." Or you could just get the albums from that era. They really are great. "Hold me close now Tony Danza" I had no idea that other people were making that joke... Early Rod's aiight. I think he's excellent on Truth, fwiw.

Does anyone here own this?

Being a tremendous Moncur fan, I was overwhelmingly happy hearing just how "together" the Capri set was. Truth be told, the sidemen contributions are tremendous--but Moncur's beautiful sound, that cerebral, somewhat eldritch psychology, is all over the thing. I second C's recommendation... So brownie--is Grachan simply a featured artist in this film (encompassing, for example, many of his peers), or is this joint generally centered on him?

Glad you went for it... Today: Amoeba splurge (tide me over for a bit): Dudu Pukwana: Cosmics Chapter 90 Ronnie Boykins (ESP) Ted Curson: Tears for Dolphy Willem Breuker Kollektief: Pakkapapen Rashied Ali Quartet + Quintet: Moon Flight (Ahmed) Abdullah: Life's Force Muhal Richard Abrams: Live at Montreux 1978 Michael Mantler: No Answer

Thanks for this--my girlfriend is petrified of mountain lions, so there's hope...

Heh... thanks for that...

That video--naw, man. That has to be a hoax. Besides--Cyndi Lauper? Doesn't she promote masturbation? That's sorta gay...